Courtsey of Erik Freitag ©
Freitag Erik
- Allgemeine Information
- Ausbildung
- Tätigkeiten
- Aufführungen (Auswahl)
- Aufträge (Auswahl)
- Auszeichnungen
- Stilbeschreibung
- Pressestimmen
- Kontakt, Links
Allgemeine Information
Born 1940 in Vienna. Studied at the Music University in Vienna and Stockholm. After completion of his education, several years of residence in Sweden. Returned 1970 to Vienna and worked as a music teacher and director of a music school until 2003. Co-founded the Ensemble Wiener Collage in 1986/87. Performances throughout Europe, the USA and Latin America. Erik Freitag lives and works in Vienna and Sweden.
Ausbildung
| Zeitraum | Ausbildung | Instrument | AusbildnerIn | Organisation | Ort |
|---|---|---|---|---|---|
|
Royal Swedish Academy of Music, Stockholm: theory, composition (Karl-Birger Blomdahl) |
Tätigkeiten
| Zeitraum | Tätigkeit | Organisation | Ort |
|---|---|---|---|
|
1964 - 1970
|
Philharmonic Orchestra, Stockholm: violin player | ||
|
1964 - 1970
|
Swedish Radio Symphony Orchestra, Stockholm: violin player | ||
|
1970 - 2003
|
director of the Music School Wien-Ottakring | ||
|
1987
|
founded the ensemble together with Eugene Hartzell and René Staar and since then active as musical director, composer, and board member |
Aufführungen (Auswahl)
| Zeitraum | Aufführung | Werk | Organisation | Ort |
|---|---|---|---|---|
|
1970
|
Nikolaikirche Kiel: | |||
|
1986
| ||||
|
1987
| ||||
|
1989
| ||||
|
1990
|
Concertgebouw Nijemegen: | |||
|
1990
|
Austrian premiere | |||
|
1993
| ||||
|
1993
|
Odessa: | |||
|
1996
| ||||
|
2001
| ||||
|
2001
|
Melos-Étos-Festival, Nová scéna Theatre - Bratislava: | |||
|
2007
|
Austrian premiere | |||
|
2008
|
world premiere of the new adaption "Licht und Schatten" |
Aufträge (Auswahl)
| Zeitraum | Auftrag | Werk | Auftraggebende Organisation | Auftraggebende Person |
|---|---|---|---|---|
|
commissions for several works including | ||||
|
commissions for several works including |
Auszeichnungen
| Time Period | Auszeichnung | Werk | Auszeichnende Organisation |
|---|---|---|---|
|
1971
|
Nordelbischen Tage Hamburg: award | ||
|
1975
|
promotional award | ||
|
1978
|
promotional award | ||
|
1988
|
promotional award | ||
|
1996
|
Kulturzentrum Moulin d'Andé: Composer in Residence | ||
|
1996
|
Northwestern University of Michigan/USA: Composer in Residence | ||
|
2005
|
Samtida Musik Stockholm: honorary member |
Stilbeschreibung
Erik Freitag's Nordic experience still has an impact, even after his return to Vienna. Pieces such as 'Helle Nacht' for string orchestra is wrapped in the curiously meditative and melancholic longing of the nature of the North, which, however, always appears to be threatened by outside disruptions. Freitag enjoys using pulsating rhythmic compositional elements as a contrast. The tension between his Viennese environment, personal experience and an almost mystical longing for the North reflects an own style, in which the music glides through states that follow a continuous thought of liberation, away from the clutch of traditional major-minor mechanics in over tonalitised relationships.
René Staar, 1994
Pressestimmen
2003
René Staar, artistic director and violinist of the dedicated ensemble, tries to explain this instance in the booklet, based on a description of Erik Freitag: "An always observing, superfluous avoidant, direct, sometimes introverted, but always intelligent, expectant being, which made him become an outsider of the Austrian art scene." The lack of presence can hardly be reasoned with Freitag's appealing, to some extent ironic-biting works: for example, the entertaining stage play "in der todesstunde von alfons alfred schmidt", according to a deep black text of Martin Amanshauser or the series "Triaphonie" for for various trios, in which sometimes a Swedish folk song shines through.
Jazzzeit (Marie-Therese Rudolph)
13. September 1991
The introduction was Erik Freitag's piece for string orchestra, "Helle Nacht", which premiered in Holland and now played for the first time in Sweden. A Midsummer Night's music, clearly structured and transparent.
Svenska Dagbladet
5. July 1986
The strongest impression was made by Erik Freitag's "Strindberg - Licht und Schatten", a musical tribute to the Swedish literature. A strikingly modern sound and form language, combined with catchy melodic, rhythmic and harmonic structures. Freitag provoked images at high rates, which can never be captured and clearly defined.
Dagens Nyheter
19. October 1995
[...] Erik Freitags "Yoziguanatzi". This piece, influenced by spirit of the South American legends, has to be considered as one of the finest compositions of contemporary Austrian music [...] It becomes more and more clear, that Erik Freitag is one of the great composers of our country [...]
Wiener Zeitung (E. Baumgartner)
31. May 2002
Erik Freitag [...] never followed trends but always followed his inner voice. This is why his music seems to be so new. His relationships of keys appear to be not repealed, but personally defined, the melody is as concise as peculiar, it often seems as if from very ancient times, brought into our presence in many refractions. [...] Quintet (1989) [...] This wonderfully deep, touching and even upsetting piece belongs to the best what was written in Austrian chamber music over the last twenty or thirty years. A creative summit, which many composers strive to achieve.
Kontakt, Links
aon [dot] at
